Ballet Icons Gala 2025 provided an exceptional evening of ballet with a programme of sixteen works, including four UK premieres and a world premiere.
Established in 2006, by Olga Balakleets, this annual, one-night-only event presents an outstanding international cast of star dancers from leading companies. Featuring live music from English National Ballet Philharmonic and followed by a gala dinner, it is a highlight of the cultural calendar.
This edition opened with the third-act pas de deux from The Sleeping Beauty, danced by Royal Ballet principals Marianela Núñez and William Bracewell. Her lingering balances. His levitating cabrioles. Their radiant embodiment of grace, grandeur and true love.
Delibes Suite started and finished with Berlin State Ballet principals Iana Salenko and David Motta Soares in silhouette. This stylish, non-narrative pas de deux boasts darting changes of direction and showy turns. Salenko and Soares evoked serene joy with their refined vitality.
The first contemporary offering of Ballet Icons Gala 2025, Once I had a Love, set the bar high. Choreographed by Sebastian Kloborg, to music from Blondie and Philip Glass, it was a UK premiere. Kloborg danced with Maria Kochetkova; they demanded attention. Yielding and yearning, giving and taking, legs unfolding and arms encircling. Seemingly exploring love’s catch-22: needing someone like living things need air but also needing breathing space.
Draw a breath and back to the classical canon with Madison Young (Bavarian State Ballet principal) and Victor Caixeta (Dutch National Ballet guest principal) dancing the Black Swan pas de deux. Young shook off nerves to whirl into those fouettés with Odile’s fearlessness. Caixeta’s bravado gave Siegfried undeniable pizzazz.
Next, former Royal Ballet principal Mara Galeazzi’s Toujours – dedicated to her late father and examining the emotions of loss. A UK premiere, danced by Galeazzi and Jason Kittelberger, it was dark, haunting and loaded with lifts.
The instant gala fixture Le Corsaire, danced by Paris Opera Ballet’s Inès McIntosh and Shale Wagman, lifted off there was applause. Consider the crowd pleased, despite unsteady moments during fiendish fouettés. The loudest cheers were for Wagman, whose jumps soared in his swashbuckling, show-stealing solo.
A Stranding, choreographed by Travis Clausen-Knight and James Pett, begins with a solo for former Paris Opera Ballet étoile Marie-Agnès Gillot. Clausen-Knight and Pett then join for duets, solos and a trio. Often entangled, the dancers ultimately abandon each other. Danced to Max Richter’s unsettling, synthesised soundscape, this performance was a world premiere.
Rousing energy and rebellious excitement in choreodrama Laurencia preceded interval analysis. Dutch National Ballet principal Giorgi Potskhishvili’s turns tantalisingly teetered on the brink of recklessness. Royal Ballet principal Mayara Magri’s feet barely touched the floor.
The UK premiere of Juanjo Arqués’ Fordlândia, danced by Lucía Lacarra and Matthew Golding, was an immersive second-half opener. Ruminating on forced distance and the freedom the natural world represents, it swamped the stage with a huge sheet of silk – initially a trailing skirt, later billowing waves. It also incorporated a chair and a video projection showing the dance as a site-specific work.
Successfully swept away, next was being blown away by impressive togetherness from La Scala Ballet principals Nicoletta Manni and Timofej Andrijashenko in Grand Pas Classique. She balanced endlessly while he double-toured with ease, then they both landed on one knee in perfect synchronicity. Seamlessly. Three times.
Maria Kochetkova graced the stage for a second time for Rubies with Bavarian State Ballet principal Osiel Gouneo. They had a playful connection throughout Balanchine’s jazz-infused gem.
Bavarian State Ballet’s Margarita Fernandes and António Casalinho had slips and a fall in their Diana and Actaeon pas de deux. Fernandes recovered admirably, channelling her inner goddess for a sublime series of hops on pointe. Casalinho possessed the speed, power and thrill of the hunt.
Mayara Magri made a bonus appearance, dancing with Matthew Ball in his mesmerising creation, To & Fro. His fluttering flared trousers and her winged sleeves accentuated pendulum-like oscillations in this classy, modern duet.
American Ballet Theatre principal Chloe Misseldine had wings proper for the second-act Giselle pas de deux with Royal Ballet principal Reece Clarke. Misseldine set the ethereal tone with soft arms and feather-light jumps. Clarke danced and partnered beautifully as the remorseful lover.
Thando, the final Ballet Icons Gala 2025 UK premiere, continued the love theme. Choreographed by Mthuthuzeli November, to his own score, this was an intense exploration of love danced by Dutch National Ballet’s Anna Tsygankova and Giorgi Potskhishvili.
The last hurrah came courtesy of the Don Quixote grand pas de deux, danced by Dutch National Ballet’s Maia Makhateli and Timothy van Poucke. Makhateli delivered breathtaking balances and firecracker fouettés, while brandishing a fan. Admittedly, there had already been many fouettés throughout the gala – these were where earlier minor mishaps had occurred. Perhaps the stage was slippery? Still, the evening finished in high spirits.
Now, anticipation is high for next year’s twentieth-anniversary gala!
Date: Sunday 9 March 2025
Venue: London Coliseum
Running time: Approximately 3 hours 20 minutes, with one interval.
*Production photography by Jack Devant.
Visit the Ballet Icons Gala website and follow @BalletIconsGala for more information.
This review is also featured on Gramilano.
Update 18 February 2026: Read my review of Ballet Icons Gala 2026 at London Coliseum.
Georgina Butler is an editor, a dance writer and a ballet teacher.
